Refîkî of Amasya, pupil of Sheikh Hamdullah and secretary of Selim I: his life, his famous tercî'-bend, his kaside on berş and his surviving poems.
Refîkî Ali Çelebi of Amasya, pupil of Sheikh Hamdullah, secretary of the imperial council and friend of Kemalpaşazâde: his life, the conflicting sources and his famous tercî'-bend.
Refîkî's opening couplet preserved by Latîfî, Kınalızâde and Hüsameddin: a tulip-cheeked beauty with roses in her hair, the two senses of âl and the dish of beauty.
When the beloved goes walking with the rival the lover's soul cannot settle; Hüsameddin mistook this opening couplet of Refîkî's for the refrain of his famous tercî'-bend.
Refîkî's opening couplet on the lover who wastes into a crescent thinking of the brow: the rhyme of hilâl and hayâl, the motif of thinness and Hüsameddin's variant.
The only surviving couplet of Refîkî's Persian verse, written as a response to Emîr Hüsrev-i Dihlevî, tells of a lover who leaves the roses for a jasmine-scented street.
Refîkî's satirical couplet complaining of the mud of Edirne and the famous reply of Sâgarî of Edirne likening him to Satan: an exchange on the two senses of âb u gil.
In the three couplets Kınalızâde quotes in a row, the refrain "benden yana" turns to a new sense each time, until even the lover's own heart takes the beloved's side.
Refîkî's seven-couplet ghazal with his pen name, preserved in Nazmî of Edirne's anthology: brigand eyes, dust wiped away by tears and a land conquered by the arrow of a sigh.
Nine couplets survive of the tercî'-bend on the times that everyone knew by heart in the sixteenth century, and in them Refîkî takes open aim at the gate of bribery.
Five couplets of Refîkî's kaside with the refrain berş, reviling an opium paste and at last praising its first effect: taverns preferred, the surgeon of death and a royal decree.
A love-pain no physician could cure, the round of the cup and an arrowhead standing in for a rose meet in Refîkî's nazire to Ahmed Paşa's ghazal on 'aña'.
Refîkî's ghazal with the redif 'saña': an opening that splits 'delükanlu' into 'mad' and 'bloody', a tress that tells all, and a note naming him a companion of Selim I.
In this nazire ghazal the heart is a mirror and the brow's reflection a burnisher; satin is left to the new moon, the sky becomes a shadow lantern, and the bond holds.
Refîkî's ghazal likening the lover, far from homeland and beloved, to a nightingale far from the rose garden: a warning to the beloved at the mirror, and wrath as a share.
In this second nazire on Ulvî's model, which calls the lover parted from the beloved the true stranger, the rose's coyness and the nightingale's pleading stand beside the ascetic's mantle and the lover's cross.
Refîkî's ghazal woven of tax terms such as tribute, stamp-duty and toll: a glass heart that cannot hide the candle, tribute from a ruined road and love's untaxed caravan.
A short-metre ghazal given to Refîkî in the Mecma'u'n-Nezâ'ir and to Fakîrî in the Pervâne Bey Mecmuası: a crown and kohl of dust, a glass that tells, and two pen-name couplets.
A couplet that spells 'ad' from alif and dâl, a master who taught the letter of injustice and a feast at the crescent brow, in a Refîkî ghazal opening 'feryâd feryâd'.
Refîkî's second ghazal rhyming in '-âd' on the same model: provisions from the liver, the sanctuary of union, Khusraw and Farhad, and deference to the master who spoke first.
A belt that knows the unseen and so finds the invisible waist, tears named rain like a nickname from the sky, and a straight word: Refîkî's nazire on Şeyhî's model.
Refîkî's reveller's ghazal: the ship of the body sinking in a sea of wine, wine that wipes the dust of grief, a languid-eyed cupbearer and a curse on those who will not burn.
A nazire that carries the word 'yagı' from Necâtî's spring ghazal into its own couplet, with fresh brands in the meadow, a falcon beloved and the nightingale's red royal tent.
Refîkî's reveller's reply to the preacher and the Sufi: goblets that shake the house of piety like cannonballs, shouts that drown advice, and tales other than love's epic.
A ghazal headed 'Refîk' in the Mecma'u'n-Nezâ'ir and 'Refîkî' in the Pervâne: candle and moth, treasure in ruins, dervish caps as goblets and a cup of repentance broken.
Refîkî's nazire to Ahmed Paşa's ghazal with the redif 'yiter': a quarter worth paradise, the beloved's street between Safa and Marwa, and a cup of bloody tears.
A cheek rising like a sun from the evening of the tress is a sign of Doomsday in this nazire on Nesîmî's model, along with a pearl of grace, a salamander heart and a slave moon.
Refîkî's second nazire on Nesîmî's model: a muezzin who sees the beloved's stature and cries 'What a fine kâmet!', jasmine trembling like linen, and a couplet after the pen name.
A ghazal the Pervâne Bey Mecmuası heads 'Refîkî of Amasya': the lot of pre-eternity giving coquetry to beauty and supplication to lovers, a letter, and an upright cypress.
Refîkî's answer to Hafî's ghazal claiming no beloved is without rivals: no hospital without patients, tears like planets, and the thornless rose of seeing the beloved alone.
Written to a ghazal of Sultan Bayezid II (Adlî) on 'olmaz': the treasure of union, no torment in paradise, a sleepless eye and a heart roasted on the hearth of pain.
Refîkî's ten-couplet ghazal with the redif 'olmaz': the ihram before the sanctuary of union, the reed flute as companion, and stature, tress and mouth spelling 'âdem'.
A reveller's ghazal opening on the pun between 'evbâşlaruz biz' and 'ev başlaruz biz', with a sip worth more than Jamshid's cup, joy grafted on grief and lashes that sweep the threshold.
Refîkî's nazire on the model of Resmî the painter: a moon-candle unafraid of the dawn wind, a sword offering the water of life, an arrowhead as bud, and dust that polishes the heart.
A ghazal that opens by wishing long life to a tolerant tavern-keeper, with the goblet's skirt, a fawning decanter, a temple bell, a moth burnt by a mole and a jealous comb.
Refîkî's ghazal in the language of the money-changer: a pupil that honours bread and salt, a sky leaning on a staff of sighs, moles as dots, and a hard heart as touchstone.
Advice to trample a wheel that is both sky and spindle, a dawn that tore its collar for jealousy of a shirt, and a beloved kneaded with spirit: a Refîkî ghazal on Nizâmî's model.
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